Red Yellow Noise (Reviews)
-red yellow noise
Yeah. Oh YEAAAAAAH...This is a really trippy, super imaginative limited edition double CD set that is sure to satisfy fans of experimental electronic music. Entropic Advance is the duo of Wesley Davis and Casey Jones. These two gentlemen play and incorporate a wide array of sounds, ideas, and instruments into their mind-bending, psychedelic electronic compositions. Unlike many electronic composers, their music is NEVER boring (!). The music is somewhere in the territory between Nine Inch Nails and Scorn (more the latter than the former). The band's bio says it best: "Lush, haunting trumpet, vocals, and spaced-out slide guitar textures, blend seamlessly with heavily manipulated tribal-electronic beats, dark pulsating drones and glitches, and thick layers of delicious ear candy." This pretty much sums up where these guys are coming from. But what is so appealing is that they do it all SO WELL. The sound quality is excellent...and these discs are chock full of audio surprises. It's like opening a box of Cracker Jacks over and over and OVER again...continually finding new surprises in the bottom of the box. This is a big whopper...containing 2 hours, 22 minutes and 59 seconds of sound. The vocals are heavily saturated in effects and seem to drift over the music while the odd beats and puzzling sounds zap the mind of the listener. With so much that can be done with electronics, it's a shame there are so few people who are doing something credible and imaginative. This is some great stuff, to be certain. With only 1,000 copies made this double disc set is sure to be chomped up FAST. Check out the website and get yours now. (Rating: 5+++)
-red yellow noise
Two cds worth of what they describe as "ambient electronic experimental noise music" -- this could be a disaster, sure, but fortunately the cats involved know what they're doing: Wesley Davis (trumpet, guitar, vox, samples, field recordings, electronic feedback) has played with the likes of Kevin Goldsmith and the SIL2K ensemble, and Casey Jones (digital beats, slide guitar, electronics, bass, handmade percussion) normally does duty as noise poet Nobody, etc. So what we get are lots of songs built on droning, wailing instruments, cavernous ambient sound, hypnotic rhythms, and plenty of trance-out moments. I'm not sure what the deal is with the second disc (the two are designated RED NOISE for disc one, YELLOW NOISE for disc two) -- the liner note info is kind of cryptic, but i don't think the second disc is simply a bunch of remixes or anything like that (the second disc does appear to be less beat-heavy), and since i still haven't had a chance to listen to that one all the way through, we'lljust have guess what it's all about. (I heard enough to know that if you like the first disc, you'll like having the second one as a bonus.) There are plenty of intriguing sounds and drones on hand, but i like it best when they get a good beat going and trance-out as opposed to when they're wandering out in left field getting experimental. (Sometimes they keep a good balance between the two, as on the eighth track from RED NOISE.) They favor unexpected segues between the experimental and more beat-heavy moments and unusual rhythms influenced more by jazz than anything else, so there's plenty of prime moments to latch on here. Plenty of surprises to enjoy. Recommended.
-red yellow noise
Review from improvjazznation 2002 Entropic Advance - RED YELLOW NOISE: This double CD set is very interesting to listen to... "red" must be for "heat/action", as thee "yellow" side is much more laid-back & ambient. I preferred th' red side, most likely because it's full of bass-driven rhythms, strange vox & swirling synths; that doesn't mean that th' "yellow" side isn't "good"... it's just in a much more ambient frame. Th' album is listed in the UNIT CIRCLE REKKIDS catalog, & the jacket says it is a "limited edition of 1000". Th' players include Casey Jones, Wesley Davis, Jim Deal, John Schuller, Jeff Mueller, John Bain & Paul Rubenstien. I previewed this (for about 2 weeks) on th' 4:30am drive to Elma... it provided one SPOOKY backdrop for navigating th' phog that often exists on that trek. When you listen to it with 'phones (as you should), it will take you into a world you never knew existed. Definitely some A+ sonics... this album gets a MOST HIGHLY RECOMMENDED from us for lovers of ambient phunk!
-red yellow noise
Entropic Advance is the project of two Seattle-based avantgarde musicians, Wesley Davis (trumpet and vocals) and Casey Jones (bass and percussions). Formed in 1998, Entropic Advance performed at several multimedia events. A Subsidiary of CAVE (Symbolic Insight, 1999) and New Improved Formula (Symbolic Insight, 1999) introduced their blend of warped melodies, digital arrangements, multi-layered rhythms, ambient electronica and sound collage.
Excerpts from a four-hour performance by Wesley Davis (trumpet), Casey Jones (bass) and Jim Deal (turntable and samples) surfaced on Water for Your Eyes (Symbolic Insight, 2000), In that same year John Schuller on guitar, Phil Petrocelli on drums, Casey Jones on bass, Wesley Davis on trumpet recorded Trepanning Drill (Sonarchy, 2000).
The double-disc Red Yellow Noise (Symbolic Insight, 2002), spanning their whole range of sonic experiences, represents the duo's mature statement. The first disc is a concept album in itself, the tracks being sequenced as to achieve maximum impact and to tell a sort of metaphysical story. The proceedings open with the syncopated, discrete dance of Blank Expression, which sort of introduces the "modern" humans and their neuroses. The heavy industrial voodoobilly of Tire Fire (distorted beats, primordial sounds, jazz trumpet, like Chet Baker fronting Godflesh) engulfs the listener in a threatening atmosphere, that spills over into the Nine Inch Nail-ish psychodrama of DNA 32 (psychotic whispers over disconnected beats). The inventive rhythms of Acceptable Damage set the stage for the eerie, gothic, expressionistic piece Do You Think He's Dead. This segues into a crescendo of dramatic compositions. The 12-minute Ugly Liquid Piano is a strange animal, recycling free-jazz doodlings, mutating hip-hop beats, a phantom trumpet in the distance, and then diving into an interlude of free-form found noises that morphs into tribal drumming and jungle-evoking trumpet lines. The "exotic" theme is continued in the 8-minute funereal dirge The Forest Is Doomed amid African chants, middle-eastern trumpet, and plantation rhythms morphing into thumping disco beats. The apocalyptic drumming and electronic nebulae of Two Centuries of Exile reiterate the expressionistic feeling, but then a petulant trumpet leads the swinging dance of Survival And Ash, that seems to accompany a ceremony of catharsis. The first disc comes to an end with the 11-minute electronic nightmare of Big River, torn to pieces by a maelstrom of devilish drums, ghostly vocals and trance-y trumpet wails. Here the earthly and the cosmic themes, the primitive and the futuristic themes achieve a fusion that is both galvanizing and horrifying.
The second disc comprises ten untitled tracks that alternate between the first track's soothing ambient drones and extra-terrestrial signals and the dark, surreal whirls of sound of the third and fourth tracks, between the fifth track's distorted threnody and the sixth track's alien frequencies (both bordering on "musique concrete"), between the seventh track's terrifying wall of noise and the tenth track's grandiose "om" towering over a jelly of found sounds. The second track, in particular, is a veritable concert, beginning with trumpet vertigoes over a hypnotic bass loop, sailing through dub-like reverb's and found noises, and ending in a desolate soundscape of dissonances and voices. The second disc is, overall, an utterly different beast, a suite of avantgarde music that borrows and transcends ideas from Karlheinz Stockhausen, the Mnemonists, the Art Ensemble Of Chicago, Edgar Varese, Pierre Henry and contemporary electronic sculptors. An ebullient cauldron of genre-defying experiments, this album stands as a platform to reform the world of music as it was passed from the 20th century to the 21st century.
Wesley Davis, whose background is in jazz and classical music, and who played in Social Issue between 1989 and 1991 (two albums on Hollywood Records), is also active as Bios+a+ic. (Translation by/ Tradotto da xxx)